DBA is Denmark's biggest marketplace for classified goods and owned by eBay. An analysis conducted by Epinion for DBA revealed that the Danes have used goods equivalent to more than 20 billion Danish kroner (approx. 2,7 billion Euro) lying around in cabinets and attics, that is just slowly losing value.

To stop this madness DBA created a content site www.dbaguide.dk in order to inspire Danes to do something about this major waste of resources. To launch the site we developed two films, one targeted at men, one targeted at women. The films points out the grotesque in having all these values lying around and involves two real Danes, the content of their attics, a Fender Stratocaster, an RS-40 Shredder, a celebrity designer wedding dress and a weed burner.

Content containing the two participants Maria and Christian, where they tell about their stuff and why they did not sell it will follow up the two films. DBA will also launch a competition where you can only participate by buying their actual stuff.

Some interesting facts from the Epinion analysis:
· Danes estimate they have 291 things in average that they no longer use
· 57% don’t do anything about it, because they feel it is difficult and time-consuming to sell the stuff
· 44% feel it is not worth to sell it
· However 63% thinks second hand will be a more popular in the future

This campaign for DBA is created by Danish agency Robert/Boisen & Like-minded (www.rblm.dk). Internationally known for the ‘Do it for Denmark’ and ‘Do it for mom’ campaigns.

The Credits:
Robert/Boisen & Like-minded (Ad agency):
Søren Christensen, Strategist
Heinrich Vejlgaard, Creative Director
René Sohn Kammersgaard, Art Director
Gitte Andersen, Account Manager

Gobsmack Productions (Film production)
Christina Bostofte Erritzøe, Producer
Cille Silverwood-Cope, Production
Peter Harton, Director
Laust Trier-Mørk, DOP
Ole Krogstad, Editor
Mike Bothe, Grader
Magnús Sveinn Jónsson, Visual Effects
Ole Krogstad, sounddesign

Advice (PR)
Stine Green Paulsen, Chief Advisor
Thilde Danielsen, Advisor
Kristina Rasmussen, Advisor

IKEA is launching a new campaign in the UK and Ireland, titled ‘Make Room for Your Life’, which examines how good storage can improve your life at home. The work continues the brand’s new strategy to demonstrate an understanding of the everyday challenges that people face in their homes.

‘Make Room for Your Life’, which launches on 19th January, explores IKEA’s storage ranges and highlights a wide range of smart solutions for everyday storage problems. The campaign uses the insight that poor storage doesn’t just cause mess and clutter, it also affects our relationships and the people we live with. By illustrating the effects of poor storage, the new spot demonstrates that making room for your life through good storage can be the first step towards happiness and wellbeing.

The campaign launches with the TV ad ‘Living Together’ in the UK and Ireland on 19 January. The spot, created by the agency Mother, shows a couple kept apart by a maze of mess. However, thanks to smart storage solutions from IKEA, the couple can tidy their way through the maze, removing the clutter from their lives to finally meet across a KIVIK sofa bed.

‘Living Together’ features a cover version of the Bee Gees song ‘Living Together’ by the band An Escape Plan. Three versions of the TV advert have been produced and include 60” and 30” adverts that run until 23 March on TV as well as a full length music video running online at http://www.youtube.com/ikeauk. The campaign also features outdoor, press ads and two filmed documentaries that will be launching on 11 February on the IKEA UK YouTube page.

Peter Wright, IKEA UK and Ireland Marketing Manager, said, “With the second burst of our new brand campaign it is our ambition to continue the revitalisation and transformation of IKEA brand in the UK and Ireland. ‘Make Room for Your Life’ demonstrates our understanding of everyday life at home and the problems that a lack of good storage gives everybody. We hope to show that we are more relevant than ever to help with consumers’ everyday challenges and ultimately for more consumers to choose IKEA more often for their home furnishing needs.”

The campaign is also integrated into the IKEA FAMILY loyalty programme with a series of editorial-style e-newsletters, direct mail and product focused online content, created by agency LIDA. The emails direct members of the programme to further online content packed with ideas and tips to help them ‘make room for your life’ and suggest how they can cut out clutter and get sorted with storage in order to be more organised for the year ahead. They also give a taster of the new products launching in-store.

Freddy Mandy, Creative Director, at Mother, said: “The idea for the campaign came from the observation that mess and clutter in our homes keep people apart emotionally as well as physically. We decided to illustrate this in our TV spot which shows a couple unable to get to each other because their stuff forms a maze keeping them apart. They have to clean up their home in order to be together.”

“We all have that space in our homes that really isn't a space – it's a dumping ground. The direct mail piece homes in on this insight and shows that with a little help from IKEA's ingenious storage solutions, you might actually see that carpet again” says Nicky Bullard, Executive Creative Director of LIDA.

Electrofunk duo Chromeo

From his breakout hit Boy to starring in next year’s blockbuster Green Lantern (above), New Zealand filmmaker Taika Waititi is a shining light in Hollywood. The 35-year-old Maori writer, director, producer and artist first burst onto the scene in 2016 with his Oscar-nominated short film Two Cars, One Night and followed that success in 2015 with his debut feature Eagle Vs Shark. It starred his close friend Jermaine Clement of Flight Of The Conchords fame and Waititi also came on board to write and direct several episodes of the hit show. But it is his latest film Boy that is truly putting him on the world stage.

Whilst in competition at the prestigious Sundance film festival earlier this year, executives from Warner Brothers Studio saw Waititi performing in Boy and quickly approached him about a role in Green Lantern. Despite coming from an acting background in live theatre and perfoming in a comedy troupe with Jermaine, Waititi said it was strange to give up the creative reigns and return to performing.

“They saw Boy and were looking for someone to play this character, so I read for it and then suddenly I was an actor again,” he said.
“It was weird because it wasn’t part of the plan for me. I just wanted to do my thing and keep making films and be a director.
“It was very, very weird and I found it kind of strange to go from someone whose been in control for ages to sitting around on set waiting for your scene.
“Your part of it, but your also not part of it.
“It was fucking weird to be honest, but I loved it and watching how everything is done.”Green Lantern is the $150m mega blockbuster based on the DC Comics series of the same name and stars Ryan Reynolds in the title role (above). Waititi said he plays the role of Green Lantern’s faithful sidekick Thomas Kalmaku in the film.
“I can’t even pronounce his name properly because he’s supposed to be of Native American heritage,” he said.
“He doesn’t have any powers or do any of the action scenes.
“It’s basically that….the guy is like a tech geek. That old chestnut.
“It’s not a giant role or anything and you never know if you’re still going to be in it at the end of the movie.
“While I was shooting I was thinking, as a filmmaker, you don’t really need this scene. But I wasn’t going to tell them that.”

Tipped as being the biggest blockbuster of 2011, there has been a lot of hype surrounding the special effects used on Green Lantern. Reynolds suit, for instance, is being created using CGI technology and will constantly evolve throughout the film. Although Waititi said he didn’t get to see what the suit looked like during filming, what he did see of the production was `amazing’.

“I haven’t seen any of the suit stuff because they hadn’t even decided what the suit was going to look like when we were shooting,” he said.
“They’ve had almost a year since filming to develop that now, but the art I saw was amazing. “It’s going to look incredible.
“That was very exciting for me because although I saw some of the green screen stuff, there’s no way to imagine what it’s going to look like.
“I just gave up and said my lines.
“I imagined it would look awesome down the track but at that moment it was just a bunch of weird people in normal clothes standing around with cameras.
“I wasn’t even in those scenes, I just went to watch their spotted-suit acting.”
Being involved in one of the most highly anticipated comic-book movies was a dream come true for Waititi (above), who said he used to `collect comics’ when he was younger.
“I was not really into the Green Lantern mythology, but I was more of a Batman guy,” he said.
“Batman was just a guy with determination who was badass and good at beating people up and fighting.
“He had the dark past and that appealed to me.
“I was a little bit into X-Men, but it got quite complicated with all the characters.”

But don’t get too excited, because Waititi said he is not likely return to the superhero genre anytime soon.

“It’s not really my style,” he said.
“I’m better suited to these character pieces and its sort of my background.
“There’s less stress and less stuff that’s over my head.”

Here is where. I chatted with the friendly P-Thugg (above right) from electrofunk duo Chromeo yesterday about music, movies, his BFF Dave 1 and asked the question a legion of Yo Gabba Gabba fans have been wanting to know — does he wash his hands?

“Yeah, always,” he said.
So, now that’s settled, here are his favourite movies:
“Scarface, Ferris Bueller’s Day Off, Ghost Busters, Beverley Hills Cop and Naked Gun.”

For those who haven’t been exposed to their brilliance before, I suggest you check out Chromeo’s video for their ridiculously catchy new song Don’t Turn The Lights On, off their forthcoming album Business Casual.

TiVo announced they have taken on Tim Tebow as the new Brand Ambassador with this online video announcement...let the fun begin. I wonder if Tebow can TiVo from the bench.

Check out this extremely well-rounded player: TiVo's new Brand Ambassador, Tim Tebow, talks about why he's the new TiVo spokesman. Life gets more complicated every single day, just like TV—it's cable, the web, tablets, phones and more. TiVo is the one player who can do it all, and make it simple and easy to find the good stuff. TiVo is TV, about a thousand times better. via YouTube

Nike pumps up their game in the new "Counts" spot featuring a cast of celebrities and sports figures including: Kevin James, Edward Scissorhands, Ferris Bueller, Paul Blart, LeBron James, Kevin Durant, Rucker Park and few more and clips of many popular movies, you'll just have to watch it to soak it all in. The music is GROOVE ARMADA — I See You Baby.

Running counts. Jams count. Style counts. Splits count. Basketball, soccer, tennis, football, snowboarding, skiing, lacrosse, baseball, softball — those all count. Walking, flying, training, cardio, jumping, stacking, taking the stairs — they all count too. The Nike+ FuelBand. Life is a sport. Make it count. That's a lot of stuff to count.

Pizza Hut Canada seems to have a pretty good sense of humor, they've created their very own branded scent and are distributing it to their loyal fans who have supported them digitally on their Facebook page.

Only 100 bottles of the Pizza Hut perfume has been produced and sent out to the lucky Canadians. If anyone of you want to send me a note when you get your eau de pepperoni, sorry I mean your bottle of perfume — you have to let us know what this stuff smells like.

How did they come up with the right scent you ask...
"We did a couple of rounds … trying to get the right smell," said Pizza Hut Canada’s marketing director, Beverly D’Cruz. "All of them were not fun … Cheese. You’d think cheese smells nice. Not so."

Creative agency Grip came up with the idea to get more Canadians to engage with Pizza Hut socially.

Eric Vieira, director of digital strategy at Grip sums it up perfectly when he was quoted by The Globe and Mail saying "It’s delicious," and "I hope some poor guy doesn’t give it to his girlfriend."

Audi, the luxury automaker goes to a lot of trouble to explain just 1 millimeter of their LED rear light, see if you can keep up to all the techno stuff they detail for you.

The 2012 Audi A1 commercial celebrates the Audi perfection by showing all the efforts Audi puts in just one millimeter of a LED rear light. But this is just one millimeter. One Audi millimeter.

Credits:
Advertising Agency: Fred & Farid, France
Creative directors / Copywriters: Fred & Farid
Art directors: Julien-Pierre Mallet, Volker Gehr
Brand supervisors: Marc-Andreas Brinkmann, David Dargaud, Fabien Neel
Agency supervisors: Daniel Dormeyer, Buu Tran, Bénédicte Muller, Caroline Beneteau
Agency producer: Karim Naceur
Agency post producer: Sandrine De Monte
Director: Mehdi Norowzian
Production: RSA London
Producer: Lisa Joseph
Music: Arnaud Astruc, Benjamin Fournier-Bidoz

More Audi ads making the rounds, Audi's "Return to Snake River Canyon" to relive the original Evil Knievel jump has not gone over to well with viewers, I believe viewers are giving it a "Blue Balls" rating, see for yourself below.

On a positive, one the greatest Audi ads was the "Progress Is Beautiful" spot which aired back in 2008, see it HERE.

When Director Harmony Korine needed the perfect opening for his latest feature-length masterpiece, Spring Breakers, he turned to his friends and collaborators at LA-based creative studio Gentleman Scholar. The famously exacting American auteur entrusted the Gentleman Scholar team with the entire concept and design process. The result is a gorgeous testament to hallucinatory visual excess – a title sequence that stands toe-to-toe with the film’s glittering feminine allure.

Easily ranking as one of the most buzzed-about Hollywood films of the year, Spring Breakers was already well on its way onto the pop-culture landscape when Gentleman Scholar began working with Korine to establish the eerie aesthetics of the titles and credits. Numerous attempts with other designers had left the director especially receptive to new approaches, and he invited the Gentleman Scholar team to invent its own creative brief. “We eventually came up with some weird stuff,” noted GS creative Will Johnson, “but it vibed with him from the get-go. Harmony is a really open dude. He had some ideas as far as framework was concerned, but it was a very open dialogue. Ultimately, we came to him with several ideas and he was very receptive, so things progressed from there.”

The Gentleman Scholar designers were relentless in their search for ideas, eventually finding a muse in the day-glow aesthetics of their own Los Angeles surroundings. “We drew a lot of inspiration from our own “local cheesy vacation spots,”” says GS creative William Campbell. “We went to a Santa Monica beach and explored around there, drawing on the kitschy local beach community ‘look’ and had illustrators and artists on the boardwalk create little things that we eventually drew from to give the titles their final look.”

Gentleman Scholar creatives worked tirelessly with Korine to match the tone of the title sequences to the film’s story, allowing their work to fit seamlessly into Korine’s universe. “The vibe of his storytelling is the kind of work we love to do,” notes Johnson enthusiastically, “but the most exciting thing about this project was the breadth of creative freedom we were given. We really excel at matching an initial concept to flawless execution, and it’s something we would love to do more often.”
via:

Credits:
Product: Spring Breakers Movie
Title: ‘Spring Breakers’
Airdate: 3/22/13
Length & Version: Opening Title Sequence, Main on End Titles
Director: Harmony Korine
Post Supervisor: Anthony Gore
Production / VFX Company: Gentleman Scholar
Executive Producer: Rachel Kaminek
Producer: Tyler Locke
Designers: John-Patrick Rooney, Heather Aquino, Jordan Lyle, William Campbell, Will Johnson
Animators: Rachel Yonda, John-Patrick Rooney
Creative Directors: Will Johnson, William Campbell